Analysis of Haydn's Symphony 104 - Movement 1 - Introduction

Haydn Symphony 104 Analysis of First MovementIntroductionTexture/Timbre· Tutti (fanfare-like, gives weighted texture, and introduces the piece)· a2 (doubled parts)· Horn in D, restricted harmonic series therefore only plays in certain areas (due to tonal ambiguity, it will fit, whether or not it is D major or minor.)· Octave Texture (provides weight)· Bar 3 onwards, the texture is homophonic. Instrumentation is reduced, creating a eery and sparse texture· Bar 7-8, octave, double dotted rhythm texture returns, however is closely related to the first two bars. However, the horns are not playing as F and C are not in their harmonic series, due to its lack of valves. This results in a weaker tutti than the first initial presentation.Melody/Rhythm/Dynamics/Tempo· In terms of tempo, its very slow, which in an introduction is uncommon in the classical era. This surprised it's audience.· Absence of melody, you can't pin-point which instrument is the melodic leader.· D to A, tonic-dominant progression, isolated notes that are played by the whole orchestra.· Post Bar 3, the melody becomes more step-like (conjunct) and intervals become closer and the bold leaps disappear until bar 7.· Double dotted rhythms - these notes are seven-eights and one eight of a crotchet respectively, producing a more angular and dramatic rhythm that a single dotted quaver and semiquaver pattern.· The initial melodic device is a fanfare, which again returns in bar 6 by the string and wind, played both times fortissimo.· Initially, fortissimo. Bar 3, becomes piano, and returns bold and loud in bar 7. The transition from fortissimo and piano induces dynamic balance.· In terms of melody, bars 9-11 reveal a rising sequence and is used as a motif which repeated in bar 11.Harmony· Tonic-Dominant (I and V), absence of the third, which would reveal it's tonality (minor third or major third). This creates tonal ambiguity.· Bar 3 confirms the key of D minor. This indicated by chromatic harmony used, C#, which is present both in the melodic and harmonic minor scales of D minor. The D minor creates a sense of mystery.· Bar 3 onwards, the double dotted rhythm from bar 1 is inverted and played piano below. (Inversion of the motif initially created).· Bar 6, introduces C natural, which indicates progression towards the dominant of F major (relative major of D minor), which induces a perfect cadence, into the closely imitative motif of bar 1.· From Bar 9 onwards there is increased chromatic harmony, which gives tonal uncertainty, especially as it is rising. The rising of sequences almost shows progression to resolution to induce cadential progression.· Bar 15, after the octave texture, unexpectedly introduces an E flat, which works it's way towards a Neapolitan chord, which in turn leads to a slow moving Ic-V imperfect cadence, followed by a silence. This ends the introduction.